The winners of the Mari Funaki Award will be announced at the opening on Tuesday 23 August 2016.

The Mari Funaki Award for Contemporary Jewellery is a biennial international Award that showcases excellence in international and Australian contemporary jewellery. Thirty-five artists have been shortlisted from an international field of 413 entries from 48 countries.

Léa Mazy - Beneath the surface - 2016 – Léa is a young French designer studying at Design Academy Eindhoven. Léa ’s jewelry collection “Beneath the Surface” is the result of a research on materials around the notions of intimacy, preciousness, fragility, surprise, but most of all on the beauty lying underneath the surface. Combined, the individual story of each broches and rings creates a personal narration and landscape.

Mari Funaki was a unique and passionate advocate for contemporary jewellery in Australia, both through her own remarkable practice and her establishment and directorship of Gallery Funaki.
This Award aims to celebrate Mari’s legacy by rewarding the skills and vision of jewellers both here and overseas and by providing a platform for outstanding new work to be shown here in Australia. A panel of three judges will award prizes in both established and emerging categories, with total prize money valued at AUD$11,000.

The original « Pearl Grey » of 2009 was an assemblage work consisting of found and made elements of porcelain, glass, wood, plastic and pearl. It referenced a traditional cup and saucer of which the cup had been magically replaced by a bead necklace. For this new work I have translated that idea to the typology of a glass ‘saucer and cup’. It is again a combination of found and made elements but this time the work is completely transparent; almost like an x-ray of it’s predecessor

Gésine Hackenberg Still Life, 2009 / Pink Balancing Glass brooch, 2015 Glass by Theresienthal, silver New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015

The ‘Still Life’ Brooches that I have made between 2009 and 2012 can be seen as a contemporary interpretation of 17th and 18th century Dutch Still Life paintings. This subject was preferable used to portray items of daily life that were emotionally and economically significant for people of that time. Within my ‘Still Lifes’, I sliced existing glasswork and rearranged them into new compositions. They represented a perfect translation of the three dimensional to the two dimensional, the realistic vista of the glasses to the medium of jewellery. The body is taking on the role of the canvas as it were… Within the new work I explored another way of looking at tableware than in a static composition: I wanted to express a certain precarious dynamic that is inherent to drinking glasses during a sociable meal. I tried to catch this moment of a glass tumbling, undecided yet if it is going to fall or stay upright.

Sari Liimatta But I love Him object, 2005 / But they don´t love him pendant, 2015 Glass beads, metal link, thread (polyamide), a plastic toy New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015

Just as men are not just men, and women just women, meat is never just meat. It has it´s past and origin, a story which is so often simply forgotten. Living creatures which are very much alive until they are nothing more than materials, for those who still choose to use them. Even the life before their death is so often more than problematic, as we all know. As we all know.

I started to re-consider a piece from 2001, that never has been sold, although I liked it very much, ‘Beautiful City – Pink Stairs’. This piece is really symmetrical, so I decided to look for a way to separate it in two parts and finish both parts in a different way, in order to get two different pieces. I have re-collected parts of other (unsold) pieces from about the same time (1999 and 2000) and have been re-approaching and re-thinking them: I made ‘Crystals’ with them, like I did in my most recent work. So I have been mixing time and thinking. And size: the sizes I used earlier were different from the sizes I used in the later ‘Beautiful City’ series, they wouldn’t have fit. But because the ‘Crystals’ are liquid (they adapt to the square) the size of the elements was not importantanymore. So I could re-take these old pieces into the new time now, I have re-used them, re-connected them.
This ‘expansion’ offered me more possibilities: I re-used the material I already had without loss of material or time. The possibility to re-make the old pieces still exists. And it gave me two new pieces. So I multiplied my possibilities. A new life.

Noon PassamaFormal Research – A necklace, 2015 / Formal Research – H rings, 2015 Rigid clay, silver, gold New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015

Formal Research – A necklace (2015) composing of six chain units is the starting point of the group of six rings. A closed-end loop of each ring was divided in sections, one / two / three /… / six, by the difference between the fat and thin parts. The works were made under the following keywords: dividing / sequencing / sizing.
Formal Research initially focused on one classical type of jewellery: the chain. The project is mainly about the form of each connecting chain unit and how the unit connects to its neighbours.
During the sculpting process, the shapes were transformed because of them being in the hand and through time. I did not edit the outcomes and will present the rings as they are. The try-outs are the finals and vice versa.

Stefano Marchetti Untitled brooch, 2007 / Untitled Revisited brooch, 2015 Silver, silver and titan powder, epoxy resin New work designed for Klimt02 Gallery in occasion of the exhibition To Recover, Barcelona, October 2015.:

In the Nineties, in the making of the older brooch, my goal was to control the metal, to have the metal do whatever I wanted. In this latest brooch, made a few days ago, I let instead the metal take control over myself, and let it take me wherever its will would go.

The reason why I chosen my self-portrait, is that it is probably one of my most well known pieces of jewellery. It is made in steel and etched. The material and techniques I mostly work with. For the Re-version I saw out the silhouette in 2 mm veneer, divided the image in 3 parts and painted them in similar but for each piece different colours, before I glued them together. The fact that they are divided in three parts, with the dark sawing-line between, gives them a comic-like impression. This impression is even emphasised by the bigger size, which is possible by the lightness of the material, and is completely different from the original steel-one. While the surface of the steel-portrait and other previous work was the key technology for building the image, the colour for some years been a part of my jewellery.

To revisit, remake, salvage, reinterpret, adapt, convert, converse, rethink…Why have we asked some of the artists we work with as gallery owners to reinterpret one of their works? We could say it’s because we’re interested in talking about time. And by “revisiting” we mean discussing the notion of time. But in what way? That’s the question. Time passes, it is made, interpreted, felt and suffered, it escapes, drifts away, becomes trapped or stretched, sometimes it is intelligently ignored and, why not, it is exercised. Reinterpreting a work, a fiction or precis is a way of addressing time, a way of exploring a landscape in order to try and understand it. And we thought this exercise would provide an interesting opportunity to discuss time.Revisiting in order to reflect… an exercise for the artist.Are there any changes in these artists’ works? Should there be? Is time involved? Without a shadow of a doubt, the answer is yes. But that barely scrapes the surface of what we want to know. We’re more likely to find out what we want to know if the work enables us to answer questions such as: What kind of time is involved? Is there any usefulness? Is there any spirituality? Are there any aesthetics? Is there any abstraction? Is there any progress? The exhibition is also designed to be understood through an analysis of the different types of answers provided by the works as a whole. As you will see, there are answers that simplify, offering minor changes, non-answers, coherent answers (if you have prior knowledge of the artist’s trajectory), inspired answers, uninventive answers… As we have said, evaluating the “revisits” as a whole provides additional knowledge. When it comes down to it, what we most value is the sensation we observe and feel when the artist takes some distance and moves away from the centre stage in an attempt to provide an answer. As observers, we believe this circumstance helps to achieve universality and thus provide an intellectual satisfaction, that of communicating and objectifying the creation to the full in order to express and play with a more authentic reality.Revisiting in order to look afresh… the viewer’s exercise.We switch from observation to understanding, and vice versa. We observe in order to find differences between similar things and we understand when we find similarities between different things. Accustomed as we are today to viewing several pieces in a highly random fashion, pausing to stop in order to take a fresh look at a work “inaugurated” some time ago is another exercise we wish to propose. This exercise may help us assimilate better in this era of accumulation and, on occasions, superficiality. There can be no doubt that the way in which a work attracts and engages us is based on the knowledge we may have of it. Knowledge without criticism is an indication of the end of everything. Yet, on the other hand, what can be said of criticism without knowledge? Are we capable of enjoying what these workers of art offer us? Will we be capable of evaluating what they show us? Can we offer knowledge-based criticism? Frankly, we find there is a lack of humility on the part of the viewer. And we’re all viewers. Let’s enjoy this opportunity.

This year 63 artists have been selected from 23 different countries and this year Modern Classic is Karel Novak from Czeck Republic. Have an overview of the selected works as well as last year awarded artists. This special exhibition is the eldest exhibition of contemporary jewellery work in the world. It takes place since 1959 every year during the International Trade Fair in March

The SCHMUCK is an international exhibition that has been taking place in Munich for more than 50 years. It combines works of established artists and promising newcomers in the area of contemporary jewellery design and is the meeting place for collectors, jewellery lovers and museum curators from Germany and abroad. Organized as a worldwide contest, the works are chosen by an internationally renowned curator each year, this time by Eva Eisler, professor at the Prague Academy of Arts, Architecture and Design (AAAD). “Presenting works at the SCHMUCK is an honor for any jewellery designer“, says Dieter Dohr, Management Board Chairman of the GHM Gesellschaft für Handwerksmessen mbH. That is also why this time, more than 600 gold smiths and jewellery designers from Germany and abroad applied for the special show. In spring 2015, contributions by 63 artists from 21 countries will finally be on display. This time, Karel Novak from the Czech Republic will be honored as the classic of modern art. Highlight of the SCHMUCK will be the awarding of the Herbert-Hofmann-prizes on Saturday, 14 March 2015 at 5 pm on stage in hall B1. On this day, a jury will select the three best works of the SCHMUCK. Each year, a number of accompanying events group around the special show at the Internationale Handwerksmesse in Munich galleries, museums and cultural institutes.

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At the Fair (Pavilion B1)

11 – 17 March / 9:30 – 18:00 h. Special Shows at the 67th International Trade Fair in Munich.

NextLevel Gallery is delighted to present Difference & Repetition, a carte blanche exhibition giving to Benjamin Lignel, Frédéric F. Martin and Jorunn Veiteberg.
Displayed in 3 chapters Difference & repetition take place in the field of contemporary and conceptual jewelry with more than forty pieces from internationals and nationals artists.

NextLevel Gallery is delighted to present Difference & repetition, a carte blanche exhibition giving to Benjamin Lignel, Frédéric F. Martin and Jorunn Veiteberg. Displayed in 3 chapters Difference & repetition takes place in the field of contemporary and conceptual jewelry with more than forty pieces from internationals artists.L’exposition est accompagnée de la publication d’un catalogue qui a reçu le soutien de l’Association Norvégienne pour les Arts et l’Artisanat et du ministère des Affaires étrangères norvégien.
This exhibition’s catalogue has received support from the Norwegian Association for Arts and Crafts as well as the Norwegian Ministry of Foreign Affairs.

1. Each of the three curators has put together a selection of works illustrating their specific take on

difference and repetition.

2. Rather than display at once their three selections, we preferred re-assembling them into three

conversations around the subject.

2. Each conversation focuses on a different aspect of the subject.

3. The conversations will follow one another (some of the pieces will be present in all three sessions)

4. This method will hopefully encourage visitors to spend more time with less work, and enjoy the

This special exhibition is the eldest exhibition of contemporary jewellery work in the world. It takes place since 1959 every year during the International Trade Fair in March. Except the transport cost until Munich the participation in the special show is free of charge for you. Three contributions of Schmuck 2013 will be awarded with the Herbert Hofmann Prize. The prize commemorates Dr. Herbert Hofmann, the founder of the special show in 1959. In addition the jury of the Bavarian States Prize will look at the works in the special show. The Bavarian States Prize is awarded to 10 contri-bution of applied art within all contribution of the International Trade Fair. This prize is awarded with 5.000€.

More than 552 goldsmiths from 43 countries around the globe applied to participate in the special “Schmuck” (Jewellery) show at the International Crafts Fair in Munich next year. This great interest once again confirms the importance of this event in the context of contemporary jewellery-making and the significance attached to it worldwide. An above-average number of applications were received this year from Australia, Japan and Taiwan, but also from New Zealand and Argentina, the latter having been among the applicants for only a few years now. The selection for 2014 was made especially interesting thanks to the many new exhibitors nominated by the curator Jorunn Veiteberg of Copenhagen. Unusually, “Jewellery 2014” features over 25 new exhibitors, who will be represented in this renowned exhibition for the first time.

For the year 2014, a total of 66 participants from 25 nations were invited to exhibit. Numerically most strongly represented are goldsmiths from Germany, the Netherlands, Japan, Australia, Denmark and Sweden. The applicants grow younger by the year, an indicator that even before or immediately after finishing their training goldsmiths seek to compete in our special show, present their work to an interested public, experts, gallery owners and museum curators, and rapidly find their way into the jewellery avant-garde. “Jewellery” is an important venue for making a name for oneself in international goldsmiths’ circles, establishing contacts, and not least, witnessing the award of the prestigious Herbert Hofmann Prize on Saturday.

The special “Jewellery” show is characterized by the choice of certain themes which, in the eyes of curator Jorunn Veiteberg, represent salient traits of current jewellery design. As signs of our times and selection criteria, she sees found objects of metal or wood, things that bear definite marks of use, materials that speak an expressive, earthy language, forms and structures reminiscent of architecture, as well as masks, a tendency to mysticism, and forceful color schemes.

Honored as next year’s Modern Classic will beDorothea Prühl, a goldsmith who lives in Halle. A teacher at Burg Giebichenstein Art College, she not only helped shape an entire generation of young goldsmiths but, over and above her teaching activity, has created an admirable, original oeuvre that holds a very special place within contemporary jewellery design.

Curator of “Jewellery 2014” is Jorunn Veiteberg, a Norwegian art historian who lives in Copenhagen. An arts journalist and exhibition curator, Veiteberg has taught since 2002 at the National Academy in Bergen, Norway. Since 2013 she has been guest professor at the University of Göteborg, Sweden, and chairwoman of the Norwegian Crafts Association. She has published in the fields of contemporary jewellery and ceramics. Veiteberg says it was a great honor for her to make the selection for “Jewellery 2014.” She was especially impressed by the quality of the submissions and their international range. For her as a Scandinavian, it was an enriching experience to see so many submissions from South Korea, Japan, Argentina, the U.S., and many other countries from around the world.

The Handwerkskammer organizes the special showsExempla, Talente, Modern Masters and Schmuck at the International Handwerksmesse München with the Herbert-Hofmann-Award 2014 ceremony on Saturday 15th March at 4 p.m. We will show in our Galerie Handwerk the exhibition WUNDERRUMA – Jewellery from New Zealand.

More than 552 goldsmiths from 43 countries around the globe applied to participate in the special “Schmuck” (Jewellery) show at the International Crafts Fair in Munich next year. This great interest once again confirms the importance of this event in the context of contemporary jewellery-making and the significance attached to it worldwide. An above-average number of applications were received this year from Australia, Japan and Taiwan, but also from New Zealand and Argentina, the latter having been among the applicants for only a few years now. The selection for 2014 was made especially interesting thanks to the many new exhibitors nominated by the curator Jorunn Veiteberg of Copenhagen. Unusually, “Jewellery 2014” features over 25 new exhibitors, who will be represented in this renowned exhibition for the first time.For the year 2014, a total of 66 participants from 25 nations were invited to exhibit. Numerically most strongly represented are goldsmiths from Germany, the Netherlands, Japan, Australia, Denmark and Sweden. The applicants grow younger by the year, an indicator that even before or immediately after finishing their training goldsmiths seek to compete in our special show, present their work to an interested public, experts, gallery owners and museum curators, and rapidly find their way into the jewellery avant-garde. “Jewellery” is an important venue for making a name for oneself in international goldsmiths’ circles, establishing contacts, and not least, witnessing the award of the prestigious Herbert Hofmann Prize on Saturday.

Retrospektive bei Schmuck 2014: Dorothea Prühl, DeutschlandHonored as next year’s Modern Classic will be Dorothea Prühl, a goldsmith who lives in Halle. A teacher at Burg Giebichenstein Art College, she not only helped shape an entire generation of young goldsmiths but, over and above her teaching activity, has created an admirable, original oeuvre that holds a very special place within contemporary jewellery design.

The special “Jewellery” showis characterized by the choice of certain themes which, in the eyes of curator Jorunn Veiteberg, represent salient traits of current jewellery design. As signs of our times and selection criteria, she sees found objects of metal or wood, things that bear definite marks of use, materials that speak an expressive, earthy language, forms and structures reminiscent of architecture, as well as masks, a tendency to mysticism, and forceful color schemes.

But whatever the case, one thing is sure in this life they live short.

They are light and extremely agile and in the eyes of some are considered as very beautiful

The only animal who looks alive while not being it.

That is their tragedy. To be pinned on a board.

The butterfly for the artist is also a metaphor for life.

How big or small, how light or heavy do you make it?

It was my personal curiosity to ask artists whose work fascinate / intrigue me to show me their Butterfly.

Yes almost as intimate as this question sounds, so intimate in a way it is.” Philip Sajet

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Petr Dvorak- Garnet/garnet/Butterfly

My garnet/garnet/titanium butterfly is a transformation of my perception of the world, my vision of impressions, desires and illusions. Within each of us is a butterfly

Peter Skubic - Butterfly 2013

The pieces is a butterfly in my still. It means the reflecting steel-sheats makes the piece as well as invisible, because mirrors are invisible. You can only see the reflection of the surface and the colour and imagine spaces. I make it from a suggestion of Philip Sajet.

Patricia Domingues Descanso – broche Fotografía Manuel Ocaña

Ramon Puig Cuyàs – “Rerum natura I”

Vera SiemundI always liked to mix different quotations in my pieces.

To do a butterfly seemed to be very easy, but suddenly this insect really gave me problems. It became so serious but at the same time too sweet. I had to leave nature immediately and go back to the topics I am familiar with.

Manon Van Kouswijk Butterfly.

Originally made for the 10 year anniversary of PEAH, a jewellery label run by Felix Lindner and Samantha Font-Sala.

Fanny Agnier Butterfly

Philip Sajet

Andrea Wagner – Lepidoptera Reef Enclave

Lisa Walker

Robean Visschers – butter-fly brooch

As a child I was already wondering how « things » got their name. Sometimes a word or a name is a combination of 2 or more words. also in the case of the Butterfly. Why?? I combined a pack of butter with a fly. Quess what? It doesnt look like a butterfly. For me its a strang name for a beautiful animal.

Manuel Vilhena The brooch comes with a book, The book is (ia a way) the statement for the piece. Fotografía Neumuller

Surasekk Yushiwat Butterfly Effect. The keyword of this product come from question “Butterfly colors this world but how they color anyone who wear t-shirts ?”. The graphic of butterfly effect come from difference movements during daily routine activity of wearer in each days, so there are no cliché graphical.

Today jewellery in the Netherlands is versatile; many different sources of inspiration, approaches and styles co-exist. Yet there is a mentality and an engagement that goes much further than just aesthetics. One can identify certain key notions that touch the chore of this approach: questioning, experimenting, abstraction, consistency, and the tendency to do things well but with a playful touch, to investigate profoundly and to work with a qualifying concept or narrative. The selected artists are all different and unique in their approach, but share the same inquiring mentality. The selection includes an iconoclast, an entertaining conceptualist, a joyous zinc smith, a chain artist, a romanticist, a designer in synthetic materials, a still life pictorialist, a storyteller and a playful abstractionist – together they present Dutch jewellery in all its broadness.The exhibition will also present the renowned project “Wanna Swap Your Ring” by Atelier Ted Noten. The installation consist of 500 Miss Piggy-rings in shocking pink mounted on the wall of the exhibition space, all placed within the imaginary contours of a handgun. Spectators can obtain a ring made by the master by replacing it with an old one of theirs. What counts is not the value. Noten is equally happy to receive precious rings or cheap ones. What counts is the exchange of old stories and new ones. All the stories together will gradually fill the pistol-shape, changing the symbol of aggression into a charming and multi-faceted scene. A shift in meaning occurs, as is often the case in work by Noten, who has a penchant for combining opposing symbols. For the attentive viewer, the interactive installation holds countless different meanings.